Post by TheCMRecluse on Jul 15, 2023 1:34:25 GMT
Dallas Taliaferro Taylor
Associated Acts: Underoath (1997–2003), Maylene And The Sons Of Disaster (2004–present), Riot Head (2013–present), ZEAL (2015–present), Everret (?-?)
Vocal Range: C2-A5 (3 octaves, 9 notes)
Vocal Style: Tenor As John Jacobs
{Vocal Summary}
Hailed from the south, Dallas Taylor is considered as one of the most important vocalists in the southern-influenced hardcore scene since the early 2000s. First starting as the original vocalist for acclaimed metalcore band Underoath, he first started his vocal journey by giving some intense performances of high phlegmy shrieks and animalistic death growls as the time the band had a blackened death metal influence. In his time with Underoath, he solely focused on screaming and occasionally spoken word passages, but it wasn’t until he formed his equally influential band, Maylene And The Sons Of Disaster that he began to use clean vocals. His high register is pretty powerful with a lot of rasp and husk almost sounding like a southern twang Lemmy, managing to go up to the mid-5th octave with barely any issue at all whiles still using unclean vocals despite them not being as chaotic as his former band as with Maylene his screams got more punk-like though there are a few times where he still has high shrieks like his younger days. His lower register however is pretty rare, only using it a few times when singing with Maylene but seems to only use it during spoken passages. His delivery tends to be relentless and manages to switch notes in seconds in heavier songs while managing to maintain a more mellow approach when doing ballads similar to bluegrass or grunge singers. Taylor is a man of blessings, and his legacy still has been by many to be one of the most energetic and persistent figures in hardcore and metal and with his recent healing from an almost fatal incident and then returning to the stage, it's safe to say that nothing is stopping this man at rocking hard.
Hailed from the south, Dallas Taylor is considered as one of the most important vocalists in the southern-influenced hardcore scene since the early 2000s. First starting as the original vocalist for acclaimed metalcore band Underoath, he first started his vocal journey by giving some intense performances of high phlegmy shrieks and animalistic death growls as the time the band had a blackened death metal influence. In his time with Underoath, he solely focused on screaming and occasionally spoken word passages, but it wasn’t until he formed his equally influential band, Maylene And The Sons Of Disaster that he began to use clean vocals. His high register is pretty powerful with a lot of rasp and husk almost sounding like a southern twang Lemmy, managing to go up to the mid-5th octave with barely any issue at all whiles still using unclean vocals despite them not being as chaotic as his former band as with Maylene his screams got more punk-like though there are a few times where he still has high shrieks like his younger days. His lower register however is pretty rare, only using it a few times when singing with Maylene but seems to only use it during spoken passages. His delivery tends to be relentless and manages to switch notes in seconds in heavier songs while managing to maintain a more mellow approach when doing ballads similar to bluegrass or grunge singers. Taylor is a man of blessings, and his legacy still has been by many to be one of the most energetic and persistent figures in hardcore and metal and with his recent healing from an almost fatal incident and then returning to the stage, it's safe to say that nothing is stopping this man at rocking hard.
{Discography Checked}
Underoath
Genre: Metalcore/death metal/black metal/emo
Studio albums:
Act Of Depression (1999) C♯3-F5
Cries Of The Past (2000) G2-G5
The Changing Of Times (2002) F♯2-F5
Maylene And The Sons Of Disaster
Genre: Southern metal/metalcore/alternative metal/hard rock
Studio albums:
Maylene And The Sons Of Disaster (2005) G2-D5
II (2007) C2-D5-E♭5
III (2009) F2-D5-F♯5
IV (2011) D2-A2-B2-D5
Underoath
Genre: Metalcore/death metal/black metal/emo
Studio albums:
Act Of Depression (1999) C♯3-F5
Cries Of The Past (2000) G2-G5
The Changing Of Times (2002) F♯2-F5
Maylene And The Sons Of Disaster
Genre: Southern metal/metalcore/alternative metal/hard rock
Studio albums:
Maylene And The Sons Of Disaster (2005) G2-D5
II (2007) C2-D5-E♭5
III (2009) F2-D5-F♯5
IV (2011) D2-A2-B2-D5
Significant High Notes:
A5 ("Giving Up Hurts The Most (live at Cornerstone 2000)")
G5 ("The Last")
F♯5 (“Cries Of The Past”, "Just A Shock", "Settling Scores By Burning Bridges")
F5 ("Act Of Depression", "Giving Up Hurts The Most", "Never Meant To Break Your Heart", “The Changing Of Times”)
E5 (“Alone In December”, "Angel Below", "Letting Go Of Tonight", "The Best Of Me", "Short Of Daybreak", "Waiting On My Deathbed", "Watch Me Die")
E♭5 ("A Love So Pure", "And I Dreamt Of You", "Crank The Walls Down", "Darkest Of Kin", "Heart Of Stone", "Innocence Stolen")
D5 (“Cat’s Walk”, “Burden In Your Hands”, “Everyone Needs A Hasting”, “Gusty Like The Wind”, “Hell On The Rise”, “Just A Shock”, “Memories Of The Grove”, "Step Up (I'm On It)", “Never Enough”, "The Red Eye", “Walking Away”, “When The Sun Sleeps”)
C♯5 ("Caution: Dangerous Curves Ahead", "Don't Ever Cross A Trowell", "Harvest Moon Changing", "The Mind Of A Grimes", "The Revealer" by Before There Was Roselyn)
C5 ("Darkest Of Kin", "Dry The River". "In Dead We Dream", "Raised By The Tide", "Sweet Centralia", "Taking On Water", "Waiting On My Deathbed", "Wylie")
B4 ("Bang! The Witch Is Dead", "Cat’s Walk", "Death Is An Alcoholic", "Dry The River", "Everyone Needs A Hasting", "Just A Shock", "Killing Me Slow", "Lady At The Gate", "Open Your Eyes", "Plenty Strong And Plenty Wrong", "The Road Home To Panther Creek", "Tough As John Jacobs")
B♭4 ("Burn The Witches", "Carry Us Away", "Is That A Threat, Or A Promise?", "No Good Son", "Never Stop Hunting", "Oh Lonely Grave", "Shut Up And Rock" by Blessed By A Broken Heart)
A4 ("Dry The River", "Faith Healer (Bring Me Down)", "Fate Games", "In Dead We Dream", "Is That A Threat, Or A Promise?", "Let's Be The Ones" by The Cane Creek Tragic, "Never Enough", "Save Me", "Taking On Water", "Tale Of The Runaways", "The Old Iron Hills", "Where The Saints Roam")
G♯4 (“Come For You”, “Don't Ever Cross A Trowell”, “Killing Me Slow”)
Significant Low Notes:
D3 ("Come For You", "Drought Of '85", "Faith Healer (Bring Me Down)", "Innocence Stolen", "The Changing Of Times", "Walking Away")
C♯3 ("A Love So Pure", "Letting Go Of Tonight", "Listen Close", "Never Enough", "Short Of Daybreak")
C3 ("Alone In December", "Save Me")
B2 ("Taking On Water")
B♭2 (“A Message To Adrienne”)
A2 (“Giving Up Hurts The Most”, “Just Wanted To Make Mother Proud”, “Off To The Laughing Place”)
G2 (“Cries Of The Past”, “Lady At The Gate”)
F♯2 (“Never Meant To Break Your Heart”)
F2 (“Step Up (I'm On It)”)
D2 ("Taking On Water")
C2 ("Memories Of The Grove")
{Questionable Notes}
G5 (“Burden In Your Hands”[2])
B♭1 ("Never Stop Hunting"[3])
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
G5 (“Burden In Your Hands”[2])
B♭1 ("Never Stop Hunting"[3])
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
......................................................
Blue marks falsetto or whistle notes.
Green marks harsh, distorted notes.
Grey marks fryish notes that maintain a solid pitch.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.
